1
Burnim MV, Maultsby PK, editors. Chapter 1: The translated African Cultural and Musical Past. African American music: an introduction. New York: Routledge 2015:3–22.
2
Floyd SA. Introduction. The Power of Black Music. New York, Oxford: Oxford University Press 1995.
3
Southern E. The music of black Americans: a history. 3rd ed. New York: W. W. Norton 1997.
4
Burnim MV, Maultsby PK, editors. Chapter 3: Secular Folk Music. African American music: an introduction. New York: Routledge 2015:34–49.
5
Burnim MV, Maultsby PK, editors. Chapter 11: Music Theater. African American music: an introduction. New York: Routledge 2015:213–38.
6
Burnim MV, Maultsby PK, editors. Chapter 6: Ragtime. African American music: an introduction. New York: Routledge 2015:97–118.
7
Shank B. From Rice to Ice: The Face of Race in Rock and Pop. The Cambridge companion to pop and rock. Cambridge: Cambridge University Press 2001:256–71.
8
Burnim MV, Maultsby PK, editors. Chapter 4: Spirituals. African American music: an introduction. New York: Routledge 2015:50–71.
9
Lott E. Love and theft: blackface minstrelsy and the American working class. 20th-anniversary edition edn. New York: Oxford University Press 2013.
10
Cockrell D. Demons of disorder: early blackface minstrels and their world. Cambridge: Cambridge University Press 1997.
11
Burnim MV, Maultsby PK, editors. African American music: an introduction. New York, NY: Routledge, Taylor & Francis Group 2015.
12
Burnim MV, Maultsby PK, editors. Chapter 7: Blues. African American music: an introduction. New York: Routledge 2015:119–37.
13
Floyd SA. Chapter 3: Syncretization and Synthesis: Folk and Written Traditions. The Power of Black Music. New York, Oxford: Oxford University Press 1995.
14
Floyd SA. Chapter 9: Troping the Blues: From Spirituals to the Concert Hall. The Power of Black Music. New York, Oxford: Oxford University Press 1995.
15
Jones L. Blues People. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press 2005:18–25.
16
Oakley G. City Blues. The devil’s music: a history of the blues. [New York]: Da Capo Press 1997.
17
Wald E. Escaping the Delta: Robert Johnson and the invention of the Blues. New York: HarperCollins 2005.
18
McClary S. Bessie Smith: Thinking Blues. The auditory culture reader. Oxford: Berg 2003:427–34.
19
Burnim MV, Maultsby PK, editors. Chapter 9: Jazz. African American music: an introduction. New York: Routledge 2015:163–88.
20
Floyd SA. Chapter 4: African-American Modernism, Signifyin(g) and Black Music. The power of black music: interpreting its history from Africa to the United States. New York: Oxford University Press 1995.
21
Schuller G. Origins. Early jazz: its roots and musical development. New York: Oxford University Press 1968:3–62.
22
Burnim MV, Maultsby PK, editors. Chapter 8: Art/Classical Music. African American music: an introduction. New York: Routledge 2015:138–59.
23
Floyd SA. Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings. The Power of Black Music. New York, Oxford: Oxford University Press 1995.
24
Howland J. Chapter 3: The Blues Get Glorified: Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz. ‘Ellington uptown’: Duke Ellington, James P. Johnson, & the birth of concert jazz. Ann Arbor: University of Michigan Press 2009.
25
Smith CP. William Grant Still: a study in contradictions. Berkeley, Calif: University of California Press 2000.
26
Hodeir A, Schuller G. Ellington, Duke. Published Online First: 20 AD.
27
Murchinson G, Parsons Smith C. Still, William Grant.
29
Burnim MV, Maultsby PK, editors. Chapter 7: Rhythm and Blues/R&B. African American music: an introduction. New York: Routledge 2015:239–76.
30
Floyd SA. Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol. The Power of Black Music. New York, Oxford: Oxford University Press 1995.
31
Brackett D. Chapter 19: The growing threat of Rhythm and Blues. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press 2005:76–80.
32
Brackett D. Chapter 24: Rock and roll meets the popular press. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press 2005.
33
Brackett D. Chapter 25: The Chicago Defender defends rock and roll. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press 2005.
34
Brackett D. Chapter 26: The music industry fight against rock ‘n’ roll. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press 2005:100–9.
35
Taylor TD. His name was in Lights: Chuck Berry’s Johnny B. Goode. Reading pop: approaches to textual analysis in popular music. Oxford: Oxford University Press 2000:163–82.
36
Peterson RA. Why 1955? Explaining the Advent of Rock Music. Popular Music. 1990;9.
37
Bertrand MT. Race, rock, and Elvis. Urbana, Ill: University of Illinois Press 2005.
38
Maultsby PK. Chapter 13: Soul. In: Burnim MV, Maultsby PK, eds. African American music: an introduction. New York, NY: Routledge, Taylor & Francis Group 2015.
39
Burnim MV, Maultsby PK, editors. Chapter 14: Funk. African American music: an introduction. New York: Routledge 2015:301–19.
40
Danielsen A. Chapter 5: The Downbeat in Anticipation. Presence and pleasure: the funk grooves of James Brown and Parliament. Middletown, Conn: Wesleyan University Press 2006.
41
Lordi EJ. The meaning of soul: Black music and resilience since the 1960s. Durham: Duke University Press 2020.
42
Dery M, editor. Black to the Future. Flame wars: the discourse of cyberculture. Durham: Duke University Press 1994:179–222.
43
Szwed J. Chapter 2 - excerpts. Space is the place: the lives and times of Sun Ra. New York: Pantheon 1997:64–73.
44
Ibrahim A. Radical re-envisionings : ancient Egypt, Afrofuturism, and FKA twigs. 2015.
45
Eshun K. More brilliant than the sun: adventures in sonic fiction. London: Quartet Books 1998.
46
Eshun K. Further Considerations of Afrofuturism. CR: The New Centennial Review. 2003;3:287–302. doi: 10.1353/ncr.2003.0021
47
Burnim MV, Maultsby PK, editors. Chapter 15: Disco and House. African American music: an introduction. New York: Routledge 2015:320–34.
48
Chang J. Can’t stop won’t stop: a history of the hip-hop generation. London: Ebury 2007.
49
Burnim MV, Maultsby PK, editors. Chapter 17: Hip-hop and Rap. African American music: an introduction. New York: Routledge 2015:354–90.
50
Strauss N. Sampling is (A) Creative or (B) Theft? The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press 2005:422–3.
51
Hess M. Hip-hop Realness and the White Performer. Critical Studies in Media Communication. 2005;22:372–89. doi: 10.1080/07393180500342878
52
Krims A. Rap music and the poetics of identity. Cambridge: Cambridge University Press 2000.
53
Rose T. Black noise: rap music and black culture in contemporary America. Middletown, Connecticut: Wesleyan University Press 1994.
54
Schloss JG. Making beats: the art of sample-based hip-hop. Middletown, Conn: Wesleyan University Press 2004.
55
Hansen KA. Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition. Popular Music and Society. 20170315;40. doi: 10.1080/03007766.2015.1104906
56
Naila Keleta-Mae. A Beyoncé Feminist. Atlantis: Critical Studies in Gender, Culture & Social Justice. 2017;38:236-246 PDF.
57
How #BlackLivesMatter started a musical revolution. Guardian. Published Online First: 13 March 2016.
58
Beyoncé in ‘Formation’: Entertainer, Activist, Both? - The New York Times. https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html
59
Moving Beyond Pain — bell hooks Institute. http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain
60
Harper P. BEYONCÉ: Viral Techniques and the Visual Album. Popular Music and Society. 20190101;42. doi: 10.1080/03007766.2019.1555895
61
Kooijman J. Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular Music and Society. 20190101;42. doi: 10.1080/03007766.2019.1555888
62
Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies. ;6.
63
Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies. ;6.
64
Edgar AN. ‘She invited other people to that space’: audience habitus, place, and social justice in Beyoncé’s Lemonade. Feminist media studies. 2019;19.
65
Arzumanova I. The culture industry and Beyoncé’s proprietary blackness. Celebrity Studies. 20160702;7. doi: 10.1080/19392397.2016.1203613
66
Patrick S. Becky with the Twitter: Lemonade, social media, and embodied academic fandom. Celebrity Studies. 20190403;10. doi: 10.1080/19392397.2018.1462721
67
Brooks KD, Martin KL. The Lemonade reader: Beyoncé, black feminism and spirituality. London: Routledge 2019.
68
Trier-Bieniek AM, editor. The Beyoncé effect: essays on sexuality, race and feminism. Jefferson, North Carolina: McFarland & Company, Inc., Publishers 2016.
69
Adams, Kyle. Aspects of the Music/Text Relationship in Rap. Music Theory Online. ;14.
70
David Brackett. James Brown’s ‘Superbad’ and the Double-Voiced Utterance. Popular Music. 1992;11:309–24.
71
Cockrell D. Demons of disorder: early blackface minstrels and their world. Cambridge: Cambridge University Press 1997.
72
Cooke M, Horn D, editors. The Cambridge Companion to Jazz. Cambridge: Cambridge University Press 2003.
73
Murray Forman. ‘Represent’: Race, Space and Place in Rap Music. Popular Music. 2000;19:65–90.
74
Frith S, Straw W, Street J, editors. The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press 2001.
75
Gates HL. The signifying monkey: a theory of African-American literary criticism. Oxford: Oxford University Press 1988.
76
Stan Hawkins. Prince: Harmonic Analysis of ‘Anna Stesia’. Popular Music. 1992;11:325–35.
77
Tim Hughes. Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder. 2003.
78
Amiri Baraka (LeRoi Jones). Blues people: Negro music in white America. New York: W. Morrow 1963.
79
Kajikawa L. Sounding race in rap songs. First edition. Oakland, California: University of California Press 2015.
80
Price EG, Kernodle TL, Maxile HJ. Encyclopedia of African American music: Volume 1: A-G. Santa Barbara, Calif: ABC-CLIO 2011.
81
Maultsby PK. Africanisms in African-American Music. Africanisms in American culture. Bloomington, Ind: Indiana University Press 1990.
82
Maultsby PK. Soul Music: Its Sociological and Political Significance in American Popular Culture. The Journal of Popular Culture. 1983;17:51–60. doi: 10.1111/j.0022-3840.1983.1702_51.x
83
Forman M, Neal MA. That’s the joint!: the hip-hop studies reader. 2nd ed. London: Routledge 2012.
84
Ramsey GP, Columbia College (Chicago, Ill.). Center for Black Music Research. Race music: black cultures from behop to hip-hop. Berkeley, Calif: University of California Press 2003.
85
Small C. Music of the common tongue: survival and celebration in African American music. Hanover, N.H.: Wesleyan University Press 1998.
86
Southern E. The music of black Americans: a history. 3rd ed. New York: W. W. Norton 1997.
87
Stuckey S. Slave culture: nationalist theory and the foundations of black America. 25th anniversary edition. New York: Oxford University Press 2014.
88
Walser R. Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy. Ethnomusicology. 1995;39. doi: 10.2307/924425
89
Williams JA, editor. The Cambridge Companion to Hip-Hop. Cambridge: Cambridge University Press 2015.
90
Williams JA. The Construction of Jazz Rap as High Art in Hip-Hop Music. The Journal of Musicology. 2010;27:435–59. doi: 10.1525/jm.2010.27.4.435
91
Zak III AJ. Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation ‘All along the Watchtower’. Journal of the American Musicological Society. 2004;57:599–644. doi: 10.1525/jams.2004.57.3.599